RUTHFULLY YOURS

https://www.americanthinker.com/blog/2020/11/hillbilly_elegy_effectively_addresses_the_crisis_of_modernity_as_one_of_a_deficit_of_values.html

The movie Hillbilly Elegy is an outstanding portrayal of what life is like for many in the white working class.

I was a little apprehensive since I read the book by J.D. Vance and really enjoyed it, but all of the three reviews I read for the movie based on the book, were negative.

And one thing they tended to say was that the movie is a cartoonish portrayal of what many call “white trash” and the performances of Amy Adams and Glenn Close weren’t worthy of the topic.

But after seeing it, I would strongly disagree. I would go so far as to say that both deserve Academy Awards for such unbelievably great performances. Although Adams got top billing as J.D. Vance’s mother Bev, Glenn Close may have stolen the show with her portrayal of J.D. Vance’s grandmother whom he calls “Mamaw.”

J.D. Vance himself appeared on Tucker Carlson’s show Monday night, where they briefly discussed the movie and book based on his life towards the end of the interview.

Tucker asked him why the reviews have been so negative when Vance put his finger right on answer when he said it was, and I’m paraphrasing, the bigotry of the elitist journalist class that don’t like and would prefer not to see any movies about the struggles of the white working class in America, especially as it relates to those on the lower end who are living on the razor’s edge of surviving and falling into poverty. The only movies they prefer are those such as The Blind Side and others tell that tell the ‘heart-warming’ stories of how people of color who are living in poverty but end up succeeding in life out of the charity of white Americans that are sure to make viewers warm and fuzzy all over as they walk out of the theaters. Carlson ended the discussion with a comment about how elitists just hope middle- and lower-class whites just die and go away, which is exactly what’s been happening due to globalism.

https://www.frontpagemag.com/fpm/2020/11/obamagate-movie-mark-tapson/

As the Democrat Party moves from one duplicitous, often illegal anti-Trump operation to another without pause (such as presidential impeachment and massive, nationwide voter fraud), their earlier scandals – even recent ones – get pushed into the background of our memory. As an example: the Deep State sabotage of the 2016 Trump campaign and presidency known as “ObamaGate,” which President Trump described as “the biggest political crime in American history, by far.” Charles Lipson at Real Clear Politics wrote that ObamaGate’s abuses of power “represent some of the gravest violations of constitutional norms and legal protections in American history… The entrenched elites behind these scandals are the Swamp at its most sulfurous. They spied illegally on Americans and used powerful tools of government to damage the party-out-of-power, its outsider candidate, and then his new presidency.”

This would be great fodder for a gripping Hollywood drama – except that Hollywood doesn’t dramatize Democrat abuses of power. So it fell to conservative filmmakers, award-winning journalists, and bestselling authors Ann McElhinney and Phelim McAleer to capture the essence of the scandal on film for posterity.

Co-produced by the Unreported Story Society and Tom Fitton’s Judicial Watch, ObamaGate: The Movie, available to watch for free here on YouTube, exposes the Deep State plot to subvert the Trump candidacy and presidency, and lays bare the lies behind the Russian collusion hoax relentlessly perpetuated by the Democrats and their abettors in the mainstream news media. Filmed in Los Angeles on the Comedy Central stage at the Hudson Theater, it stars openly-conservative actor Dean Cain, best-known as TV’s Superman, and Kristy Swanson, formerly TV’s Buffy the Vampire Slayer, as “FBI lovebird” agents Peter Strzok and Lisa Page. It also features familiar face John James from the Dynasty TV series as Obama administration FBI Director James Comey.

https://www.frontpagemag.com/fpm/2020/10/mbc-tv-drama-series-umm-haroun-rocking-arab-world-joseph-puder/

For over a century, ever since the Zionist project began, Jews have been vilified in the Arab press as usurpers of Palestine. There were also the religious aspects in the condemnation of Jews as evildoers and enemies of the prophet Mohammad. Even after the 1979 peace treaty between Egypt and Israel, the Egyptian media viciously portrayed Jews using such old medieval calumnies as accusations that Jews kill children to use their blood on Passover matzos. Israel’s peace with Jordan in 1994 did not do much to improve how the Jordanian people saw Israel and Jews. In short, the governments of both Egypt and Jordan failed to prepare their people for peaceful people to people relationships.

The recent Abrahamic peace treaties between Israel and the United Arab Emirates (UAE) and Bahrain signed in the White House, with the President Donald Trump serving as the facilitator, has brought on a refreshing air of amity and positivity. It is a more real peace that is not just between governments, but rather has the people on sides involved, as well as in business relations, and two-way tourism. The Middle East Broadcasting Center (MBC), an Emirati-Saudi media conglomerate based in Dubai has presented a drama series called “Umm Haroun,” aired during month of the Ramadan fast, a major TV audience occasion, especially with the coronavirus keeping many people at home, thus increasing the watching audience. The series explores the Jewish roots in the Gulf, and the historic ties Jewish people have to the Arab Gulf region.

https://www.frontpagemag.com/fpm/2020/10/what-killed-michael-brown-mark-tapson/

In the wake of the violent worldwide protests that followed the death in police custody of black Minneapolis resident George Floyd, it is easy to forget that what created the conditions for all that racial chaos was the 2014 shooting of black Michael Brown by white police officer Darren Wilson in Ferguson, Missouri. Yes, the Black Lives Matter movement began before that, after George Zimmerman’s acquittal for the shooting death of Trayvon Martin. But BLM didn’t pick up steam and acquire national recognition until after Brown. And Zimmerman wasn’t a cop; it was Michael Brown’s death that really galvanized what author Heather Mac Donald called “the war on cops” and created the mythic slogan, “Hands up, don’t shoot,” which the leftist news media promoted in spite of an absence of evidence or witnesses that Brown ever said it.

The brilliant scholar Shelby Steele has now revisited that complex tragedy in a new documentary called What Killed Michael Brown?, written and narrated by Steele, and beautifully directed and filmed by his award-winning filmmaker son Eli. Steele père, you will remember, is the black conservative author of The Content of Our Character and White Guilt: How Blacks and Whites Together Destroyed the Promise of the Civil Rights Era. His film seeks to answer what Steele calls “a daring question, one that a group like Black Lives Matter would forbid: is Michael Brown in any way responsible for his own death?”

What Killed Michael Brown? is grounded by Steele’s calm, thoughtful presence and his almost poetic narration, delivered in a measured, mellifluent voice and backed by a moody, jazz trumpet soundtrack. The film features him strolling down the streets of Ferguson, in his childhood home in Chicago, and in neighborhoods of the black underclass in both cities as he muses about the nature of race, power, and character in America. This is woven in with footage of riots and press conferences, and interviews with white Ferguson residents, local black leaders, and even race hustler Al Sharpton, whom Steele depicts as a self-aggrandizing agitator exploiting black anger.

https://www.wsj.com/articles/amazon-cancels-shelby-steele-11602715834?mod=opinion_lead_pos2

As a documentary, “What Killed Michael Brown?” has everything going for it. Its subject is timely, about the pre-George Floyd killing of Michael Brown by a police officer that set off riots in Ferguson, Mo., in 2014.

It’s written and narrated by Shelby Steele, the prominent African-American scholar at the Hoover Institution, and directed by his filmmaker son, Eli Steele. Its subject—race relations—is a major fault line in this year’s presidential election, one reason the Steeles scheduled their film for release on Oct. 16. Our columnist Jason Rileywrote about the film on Wednesday.

One problem: “What Killed Michael Brown?” doesn’t fit the dominant narrative of white police officers killing young black men because of systemic racism. As a result, says the younger Mr. Steele, Amazon rejected it for its streaming service. “We were canceled, plain and simple.”

In an email, Amazon informed the Steeles that their film is “not eligible for publishing” because it “doesn’t meet Prime Video’s content quality expectations.” Amazon went on to say it “will not be accepting resubmission of this title and this decision may not be appealed.”

On their website—whatkilledmichaelbrown.com—the Steeles offer other options for people looking to watch their documentary. But it’s sadly telling about elite political conformity that an intelligent film that gives voice to a variety of people, almost all black, who would otherwise not be heard is somehow deemed unfit for polite company. As Eli Steele puts it, “When Amazon rejected us they also silenced these voices and that is the great sin of a company that professes to be diverse and inclusive.”

https://www.frontpagemag.com/fpm/2020/09/infidel-unites-best-both-mainstream-and-faith-mark-tapson/

It is increasingly difficult these days for conservatives to enjoy anything from mainstream Hollywood, which has made its contempt for all those white supremacist Trump supporters in the flyover states very clear. Conservative viewers have had enough of movies and TV series that denigrate, ridicule, and demonize their faith and values. They’re done with being bludgeoned by social justice messaging from hypocritical, elitist actors and filmmakers. They’ve canceled their cable TV and their Netflix subscriptions over increasingly vile, nihilistic content. The only entertainment refuge those viewers are left with, however, is bland “faith-based” programming aimed squarely at conservatives, that too often suffers from low budgets, amateurish quality, and heavy-handed messaging of its own.

So when a movie comes along that merges the best of both mainstream and faith-based filmmaking (but doesn’t fit neatly into either category), that unites strong storytelling and a respect for conservative belief and values, and that doesn’t sucker-punch us with a message of moral equivalence, we need to throw our support behind it and spread the word. Infidel, which opens nationwide today, September 18, is one of those rarities.

Executive produced by Dinesh D’Souza’s media company, and written and directed by Cyrus Nowrasteh, whose 2006 ABC miniseries The Path to 9/11 sparked front-page controversy and sent Bill Clinton and his former administration cronies into paroxysms of anger, the R-rated Infidel is a Middle East thriller starring Jim Caviezel as an American prisoner of the Iranian regime, falsely accused of spying for the CIA. His only way out is to sign a confession – and publicly renounce his faith and convert to Islam.

https://www.frontpagemag.com/fpm/2020/09/social-media-not-cause-our-social-dilemmas-jason-d-hill/

Jeff Orlowski’s documentary The Social Dilemma on Netflix is an interesting panoptic exploration of ways in which human minds are allegedly twisted, manipulated, and directed by social media to produce outcomes by programmed algorithms whose creators, in the end, must have had nefarious  motives. On the surface, we may cast them as players in a medieval morality play between good and evil. The evil operatives are the gnomic know-it-alls who somehow must have known that with the invention of the “Like” button on various social media pages and media outlets, they could send recipients into waves of euphoria — while those receiving a “thumbs down” could be sent into paroxysms of rage or, more commonly, paralyzing depression. The social media creators in the film, however, claim that they only wanted to “spread positivity and love in the world.”

The basic thematic thrust of the documentary is predicated on a dubious premise: the idea of an addictive media, the manipulative machinations of its architects and their unwillingness to confront their culpability in creating an addictive social media culture, and the latter’s contribution to the polarization of our society and the proliferation of “fake news.”

This film, which purports to gain some philosophical respectability by an identification with the anti-conceptual moniker, “surveillance capitalism,” presupposes a world of mindless victims; automatons in need of global marketplace regulation from “data extraction” invisible vectors that somehow predict our behaviors and, well, coerce us to do things that we would not do had our brains not been improperly hijacked by the artificially-driven analytics.